Imagism

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Imagism

 

a modernist trend in English and American literature from 1910 to the early 1920’s. Its initiators and theorists were the English philosopher T. Hulme and the American poet E. Pound. They were joined by American poetesses A. Lowell and H. Doolittle, the American poets W. C. Williams and J. G. Fletcher, and the Englishmen F. M. Ford, D. H. Lawrence, and R. Aldington; their paths subsequently diverged.

The imagists, combining the philosophy of institutionalism and the formal theories of French symbolism, glorified nature and captured fleeting impressions in their poetry; they were fascinated with the play of rhythms and colors, accentuated the self-contained, laconic, “pure” image, and cultivated free verse. A reaction to the ornamentality and false beauty of the imitators of romanticism, imagism marked the transition to the forms of contemporary English and American poetry.

In Russia, the imaginist poets shared certain imagist ideas.

REFERENCE

Kashkin, I. “Tvorchestvo amerikanskikh poetov imazhistov.” Interna-tsional’naia literatura, 1937, no. 2

B. A. GILENSON

References in periodicals archive ?
The use of language is thus subordinated to the imagistic principle.
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[bar] Carole Burns lives in Cardiff and is editor of Off The Page: Writers Talk About Beginnings, Endings, and Everything In Between and programme leader for the MA in creative and critical writing at the University of Winchester [bar] Imagistic: Cardiff Flash Fiction is at Bar One, Wales Millennium Centre, Cardiff on Wednesday at 7pm
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It would be interesting to hear Kaliski's view on just how the brain's neurobiological activity is translated into Psyche's imagistic mode of expression--it is these images that the depth psychologist uses, always mindful of the fact that a biological basis to Psyche is a given.
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From the moment "LE[bar]yinica" begins until the final curtain is drawn, the audience is captivated by a spirited, imagistic and extremely well choreographed performance.
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He argues that Lynch is focused on "imagistic and linguistic instability" and relationships between desire and fantasy, seeing him as a romantic visionary rather than a skeptic.
Rather than pontificating, however, curator Andres Mario Zervigon merely contextualizes Heartfield in relation to the imagistic production of his time.